2024 Scholarship Recipients

Los Danzantes 
2023 
Risograph print on black paper

I grew up in Mexico City where I began working in documentary films to later include photography in my practice. Over two years ago, I began an examination of Mexican identity through Lucha Libre events. Where social constructs such as gender roles, masculinity, catholicism, morality, the conformation of the “other” and our indigenous roots are all portrayed on stage. Overall, the examination of this tradition elucidates the constructed idea of “Mexicanity”, revealing some of the causes and consequences of the aforementioned social constructions.

On the other hand, it has been a process of self discovery as well, reflecting about elements of my own identity, challenging my own misconceptions of social constructions. Ideas such as my understanding of masculinity. The notion of virility embodied by luchadores, coupled with the belief that anything diverging from this norm is deemed alien or weak, became ingrained in me. That is how my identity was built. There are people looking to change these conceptions of masculinity and this extends to the luchador arenas as well.

In this series, my aim was to draw a parallel between the artistry of dancing and the dramatic spectacle of Lucha Libre fights. I carefully selected frames where the luchadores display a sense of fluidity and grace, similar to dancers. These fights, with their intricate choreography, serve as performances that blend athleticism with an undertone of eroticism.
Furthermore, I sought to highlight the element of drag inherent in Lucha Libre, characterized by the use of masks, makeup, and costumes to craft a performative persona. This aspect is often overlooked or negated owing to the idea of virility that is portrayed with figures such as El Santo or Blue Demon. Mexican identity is defined by masks, not only as a physical item but a metaphorical one that hides our vulnerabilities and intimacies.

My work searches for the complexities and contradictions of the human experience while also exploring what identity means and how it is built through the years, which oftentimes leads to a journey of self discovery. Through art, I find a path to understanding myself better with each project I take on and I believe art holds immense value in enhancing our lives. One of my post-graduation goals is to go back to Mexico and teach at a University, while pursuing my own artistic research. I view this as an opportunity to share my insights gained during my MFA journey and contribute to meaningful discussions about the current socio-political landscape.

El Ring
2023 
Risograph print on black paper

I grew up in Mexico City where I began working in documentary films to later include photography in my practice. Over two years ago, I began an examination of Mexican identity through Lucha Libre events. Where social constructs such as gender roles, masculinity, catholicism, morality, the conformation of the “other” and our indigenous roots are all portrayed on stage. Overall, the examination of this tradition elucidates the constructed idea of “Mexicanity”, revealing some of the causes and consequences of the aforementioned social constructions.

On the other hand, it has been a process of self discovery as well, reflecting about elements of my own identity, challenging my own misconceptions of social constructions. Ideas such as my understanding of masculinity. The notion of virility embodied by luchadores, coupled with the belief that anything diverging from this norm is deemed alien or weak, became ingrained in me. That is how my identity was built. There are people looking to change these conceptions of masculinity and this extends to the luchador arenas as well.

In this series, my aim was to draw a parallel between the artistry of dancing and the dramatic spectacle of Lucha Libre fights. I carefully selected frames where the luchadores display a sense of fluidity and grace, similar to dancers. These fights, with their intricate choreography, serve as performances that blend athleticism with an undertone of eroticism.
Furthermore, I sought to highlight the element of drag inherent in Lucha Libre, characterized by the use of masks, makeup, and costumes to craft a performative persona. This aspect is often overlooked or negated owing to the idea of virility that is portrayed with figures such as El Santo or Blue Demon. Mexican identity is defined by masks, not only as a physical item but a metaphorical one that hides our vulnerabilities and intimacies.

My work searches for the complexities and contradictions of the human experience while also exploring what identity means and how it is built through the years, which oftentimes leads to a journey of self discovery. Through art, I find a path to understanding myself better with each project I take on and I believe art holds immense value in enhancing our lives. One of my post-graduation goals is to go back to Mexico and teach at a University, while pursuing my own artistic research. I view this as an opportunity to share my insights gained during my MFA journey and contribute to meaningful discussions about the current socio-political landscape.

Los Danzantes pt II
2024
Risograph prints on black paper
68×44

I grew up in Mexico City where I began working in documentary films to later include photography in my practice. Over two years ago, I began an examination of Mexican identity through Lucha Libre events. Where social constructs such as gender roles, masculinity, catholicism, morality, the conformation of the “other” and our indigenous roots are all portrayed on stage. Overall, the examination of this tradition elucidates the constructed idea of “Mexicanity”, revealing some of the causes and consequences of the aforementioned social constructions.

On the other hand, it has been a process of self discovery as well, reflecting about elements of my own identity, challenging my own misconceptions of social constructions. Ideas such as my understanding of masculinity. The notion of virility embodied by luchadores, coupled with the belief that anything diverging from this norm is deemed alien or weak, became ingrained in me. That is how my identity was built. There are people looking to change these conceptions of masculinity and this extends to the luchador arenas as well.

In this series, my aim was to draw a parallel between the artistry of dancing and the dramatic spectacle of Lucha Libre fights. I carefully selected frames where the luchadores display a sense of fluidity and grace, similar to dancers. These fights, with their intricate choreography, serve as performances that blend athleticism with an undertone of eroticism.
Furthermore, I sought to highlight the element of drag inherent in Lucha Libre, characterized by the use of masks, makeup, and costumes to craft a performative persona. This aspect is often overlooked or negated owing to the idea of virility that is portrayed with figures such as El Santo or Blue Demon. Mexican identity is defined by masks, not only as a physical item but a metaphorical one that hides our vulnerabilities and intimacies.

My work searches for the complexities and contradictions of the human experience while also exploring what identity means and how it is built through the years, which oftentimes leads to a journey of self discovery. Through art, I find a path to understanding myself better with each project I take on and I believe art holds immense value in enhancing our lives. One of my post-graduation goals is to go back to Mexico and teach at a University, while pursuing my own artistic research. I view this as an opportunity to share my insights gained during my MFA journey and contribute to meaningful discussions about the current socio-political landscape.

Drying Out #1
2023
Cyanotype & Whiskey
17.5 x 23

Benjamin Davis
AAG Scholarships – Personal Statement
The backdrop for my childhood were the waterfalls of upstate New York—Niagara Falls, a looming, unstoppable force. The other uncontrollable force that shaped my life was alcoholism. I’m in recovery, and the disease has affected both sides of my family. Through my work I am drawing connecJons between a family history of addicJon, relapse, and our shared visual archive of family pictures.

I began visiting waterfalls for this project after two years of sobriety. The first waterfall I visited had run dry, leaving only traces of its cascading torrents. The photograph I created was printed as a cyanotype and toned in whiskey with residue from the evaporating whiskey creating new marks—like the vestigial water lines at the edge of the dry falls. The evaporated whiskey from the toning became part of the image, leaving the mark of its former presence. The term for the evaporation of whiskey during the aging process is the “Angel’s Share.” Both the falls and I have dried out, and now I’m making a substance that has negatively impacted my life work for me. My work is about altering the seemingly inevitable course of addiction in my
family. The poisonous chemicals that ruled my and my family member’s lives are now used as a tool for connecJon with my lineage—many of whom never achieved sobriety.

My broader art practice investigates the crossroads of addiction, trauma, and dependence. I pull ideas from the field of epigenetics to research links between environmental exposures and genetic factors in mental illness. I use photographs from my family archive because they provide an alternative view of environmental factors in my family history. They document scenes and events that may have been important to the original photographer even
if the pictures seem meaningless now. By combing through my family photographs and contextualizing the images, I suggest the events in my dead relative’s lives that led to depression, anxiety, and alcoholism. Using their photographs with my own creates a collaboration between myself and my deceased relatives in the work.

I employ the atiquarian cyanotype photographic process because the prints change color in the presence of tannins, allowing me to use whiskey as a toner. The pristine blues that the whiskey doesn’t stain become emblemaJc of the possibility of redempJon—an indicator of the parts of us that aren’t lost in addiction. I can control the liquor in my art practice, forming new relationships between the alcohol, my family history, and myself.

The values I hold in my recovery and art practice are the same: inspire compassion through education and the willingness to empathize. While I am pursuing my Master of Fine Arts, I am simultaneously working to continue my personal growth. My educational goal is to learn and understand new ways of thinking about the medium of photography and how I can incorporate alternative techniques in my art practice. Working with different materials that have harmed me in the past allows me to move past these negative connotations while pursuing my education and working to educate others. Teaching has become an integral part of my time at the University of Arizona. I am lucky to have the ability to teach a technical class that also lets
me engage with students and learn about what matters to them. Working with students to create a project they are excited about is truly one of my passions, and something I hope to continue after graduation.

Drying Out #2
2023
Cyanotype & Whiskey
17.5 x 23

Benjamin Davis
AAG Scholarships – Personal Statement
The backdrop for my childhood were the waterfalls of upstate New York—Niagara Falls, a looming, unstoppable force. The other uncontrollable force that shaped my life was alcoholism. I’m in recovery, and the disease has affected both sides of my family. Through my work I am drawing connecJons between a family history of addicJon, relapse, and our shared visual archive of family pictures.

I began visiting waterfalls for this project after two years of sobriety. The first waterfall I visited had run dry, leaving only traces of its cascading torrents. The photograph I created was printed as a cyanotype and toned in whiskey with residue from the evaporating whiskey creating new marks—like the vestigial water lines at the edge of the dry falls. The evaporated whiskey from the toning became part of the image, leaving the mark of its former presence. The term for the evaporation of whiskey during the aging process is the “Angel’s Share.” Both the falls and I have dried out, and now I’m making a substance that has negatively impacted my life work for me. My work is about altering the seemingly inevitable course of addiction in my
family. The poisonous chemicals that ruled my and my family member’s lives are now used as a tool for connecJon with my lineage—many of whom never achieved sobriety.

My broader art practice investigates the crossroads of addiction, trauma, and dependence. I pull ideas from the field of epigenetics to research links between environmental exposures and genetic factors in mental illness. I use photographs from my family archive because they provide an alternative view of environmental factors in my family history. They document scenes and events that may have been important to the original photographer even
if the pictures seem meaningless now. By combing through my family photographs and contextualizing the images, I suggest the events in my dead relative’s lives that led to depression, anxiety, and alcoholism. Using their photographs with my own creates a collaboration between myself and my deceased relatives in the work.

I employ the atiquarian cyanotype photographic process because the prints change color in the presence of tannins, allowing me to use whiskey as a toner. The pristine blues that the whiskey doesn’t stain become emblemaJc of the possibility of redempJon—an indicator of the parts of us that aren’t lost in addiction. I can control the liquor in my art practice, forming new relationships between the alcohol, my family history, and myself.

The values I hold in my recovery and art practice are the same: inspire compassion through education and the willingness to empathize. While I am pursuing my Master of Fine Arts, I am simultaneously working to continue my personal growth. My educational goal is to learn and understand new ways of thinking about the medium of photography and how I can incorporate alternative techniques in my art practice. Working with different materials that have harmed me in the past allows me to move past these negative connotations while pursuing my education and working to educate others. Teaching has become an integral part of my time at the University of Arizona. I am lucky to have the ability to teach a technical class that also lets
me engage with students and learn about what matters to them. Working with students to create a project they are excited about is truly one of my passions, and something I hope to continue after graduation.

Niagara
2023
Cyanotype & Whiskey
20 x 23 inches (two 20 x 10 inch segments

Benjamin Davis
AAG Scholarships – Personal Statement
The backdrop for my childhood were the waterfalls of upstate New York—Niagara Falls, a looming, unstoppable force. The other uncontrollable force that shaped my life was alcoholism. I’m in recovery, and the disease has affected both sides of my family. Through my work I am drawing connecJons between a family history of addicJon, relapse, and our shared visual archive of family pictures.

I began visiting waterfalls for this project after two years of sobriety. The first waterfall I visited had run dry, leaving only traces of its cascading torrents. The photograph I created was printed as a cyanotype and toned in whiskey with residue from the evaporating whiskey creating new marks—like the vestigial water lines at the edge of the dry falls. The evaporated whiskey from the toning became part of the image, leaving the mark of its former presence. The term for the evaporation of whiskey during the aging process is the “Angel’s Share.” Both the falls and I have dried out, and now I’m making a substance that has negatively impacted my life work for me. My work is about altering the seemingly inevitable course of addiction in my
family. The poisonous chemicals that ruled my and my family member’s lives are now used as a tool for connecJon with my lineage—many of whom never achieved sobriety.

My broader art practice investigates the crossroads of addiction, trauma, and dependence. I pull ideas from the field of epigenetics to research links between environmental exposures and genetic factors in mental illness. I use photographs from my family archive because they provide an alternative view of environmental factors in my family history. They document scenes and events that may have been important to the original photographer even
if the pictures seem meaningless now. By combing through my family photographs and contextualizing the images, I suggest the events in my dead relative’s lives that led to depression, anxiety, and alcoholism. Using their photographs with my own creates a collaboration between myself and my deceased relatives in the work.

I employ the atiquarian cyanotype photographic process because the prints change color in the presence of tannins, allowing me to use whiskey as a toner. The pristine blues that the whiskey doesn’t stain become emblemaJc of the possibility of redempJon—an indicator of the parts of us that aren’t lost in addiction. I can control the liquor in my art practice, forming new relationships between the alcohol, my family history, and myself.

The values I hold in my recovery and art practice are the same: inspire compassion through education and the willingness to empathize. While I am pursuing my Master of Fine Arts, I am simultaneously working to continue my personal growth. My educational goal is to learn and understand new ways of thinking about the medium of photography and how I can incorporate alternative techniques in my art practice. Working with different materials that have harmed me in the past allows me to move past these negative connotations while pursuing my education and working to educate others. Teaching has become an integral part of my time at the University of Arizona. I am lucky to have the ability to teach a technical class that also lets
me engage with students and learn about what matters to them. Working with students to create a project they are excited about is truly one of my passions, and something I hope to continue after graduation.

The Weight of Tradition  
2024
Oil-based clay ,3D printed material, Wood, and Steel 
1/3 scale

My name is Ethan Nguyen, a Vietnamese American student currently in my third year in the Drawing and Painting undergraduate program at the Herberger Institute of the Arts. My pieces will demonstrate my efforts to encourage a deeper connection with my subjects.
The first piece titled “The Weight of Tradition” is a recontextualized Buddha statue featuring my mother adorned in the traditional Vietnamese garment. Departing from the conventional symmetry of a Buddha pose, this sculpture symbolizes the conflict between my mother’s rooted Buddhist values from Vietnam and the expectations she projected onto me. This perspective is based on observations I made throughout my upbringing. By executing this piece, I hope to communicate my dedication to art despite my non-traditional career choice as an opportunity to reach an understanding between my mother and myself. The second piece titled “Deconstruction” is the result of studying portrait anatomy and tackling the challenge in sculpting an anatomically accurate life-sized head during the Summer 2023 semester. Splitting the head in half, exposing the muscles on one side and the skin on the other, improved my understanding of anatomy so that I could apply it to future figurative projects. The third piece titled “Madeline” is a portrait of my partner whom I sculpted and cast in plaster as a gift and expression of my deep love for her. When I began sculpting that year, I found the attention I spent sculpting another person and getting to know them is a deeply meaningful human interaction the contributes significantly to the final product of the sculpture.

This summer, I plan is to attend the Digital Stone Residency in Italy where I will carve “The Weight of Tradition” in marble for a month. I plan to use this experience to expand my repertoire with different mediums of sculpture and meet my educational goals.

My career goal is to pursue 3D character clay modelling in the entertainment industry. My aspirations as an artist revolve around the need to always improve. I believe everything I do sculpturally is important to the development in my journey, and that through failure, I can learn how to succeed. My hope is to be a part of the industry for 20 to 30 years and eventually teach sculpture. My mentor Gabriel Vinas has helped me tremendously throughout my art journey, and I hope to carry on his passion for helping students by teaching the next generation of sculptors.

Deconstruction  
2023  
Oil-based clay, 3D printed material, Wood, and Steel Pipe
Life-size

My name is Ethan Nguyen, a Vietnamese American student currently in my third year in the Drawing and Painting undergraduate program at the Herberger Institute of the Arts. My pieces will demonstrate my efforts to encourage a deeper connection with my subjects.
The first piece titled “The Weight of Tradition” is a recontextualized Buddha statue featuring my mother adorned in the traditional Vietnamese garment. Departing from the conventional symmetry of a Buddha pose, this sculpture symbolizes the conflict between my mother’s rooted Buddhist values from Vietnam and the expectations she projected onto me. This perspective is based on observations I made throughout my upbringing. By executing this piece, I hope to communicate my dedication to art despite my non-traditional career choice as an opportunity to reach an understanding between my mother and myself. The second piece titled “Deconstruction” is the result of studying portrait anatomy and tackling the challenge in sculpting an anatomically accurate life-sized head during the Summer 2023 semester. Splitting the head in half, exposing the muscles on one side and the skin on the other, improved my understanding of anatomy so that I could apply it to future figurative projects. The third piece titled “Madeline” is a portrait of my partner whom I sculpted and cast in plaster as a gift and expression of my deep love for her. When I began sculpting that year, I found the attention I spent sculpting another person and getting to know them is a deeply meaningful human interaction the contributes significantly to the final product of the sculpture.

This summer, I plan is to attend the Digital Stone Residency in Italy where I will carve “The Weight of Tradition” in marble for a month. I plan to use this experience to expand my repertoire with different mediums of sculpture and meet my educational goals.

My career goal is to pursue 3D character clay modelling in the entertainment industry. My aspirations as an artist revolve around the need to always improve. I believe everything I do sculpturally is important to the development in my journey, and that through failure, I can learn how to succeed. My hope is to be a part of the industry for 20 to 30 years and eventually teach sculpture. My mentor Gabriel Vinas has helped me tremendously throughout my art journey, and I hope to carry on his passion for helping students by teaching the next generation of sculptors.

Madeline  
2023  
Cast Polystone, Wood, and Steel
6 x 6 x 12

My name is Ethan Nguyen, a Vietnamese American student currently in my third year in the Drawing and Painting undergraduate program at the Herberger Institute of the Arts. My pieces will demonstrate my efforts to encourage a deeper connection with my subjects.
The first piece titled “The Weight of Tradition” is a recontextualized Buddha statue featuring my mother adorned in the traditional Vietnamese garment. Departing from the conventional symmetry of a Buddha pose, this sculpture symbolizes the conflict between my mother’s rooted Buddhist values from Vietnam and the expectations she projected onto me. This perspective is based on observations I made throughout my upbringing. By executing this piece, I hope to communicate my dedication to art despite my non-traditional career choice as an opportunity to reach an understanding between my mother and myself. The second piece titled “Deconstruction” is the result of studying portrait anatomy and tackling the challenge in sculpting an anatomically accurate life-sized head during the Summer 2023 semester. Splitting the head in half, exposing the muscles on one side and the skin on the other, improved my understanding of anatomy so that I could apply it to future figurative projects. The third piece titled “Madeline” is a portrait of my partner whom I sculpted and cast in plaster as a gift and expression of my deep love for her. When I began sculpting that year, I found the attention I spent sculpting another person and getting to know them is a deeply meaningful human interaction the contributes significantly to the final product of the sculpture.

This summer, I plan is to attend the Digital Stone Residency in Italy where I will carve “The Weight of Tradition” in marble for a month. I plan to use this experience to expand my repertoire with different mediums of sculpture and meet my educational goals.

My career goal is to pursue 3D character clay modelling in the entertainment industry. My aspirations as an artist revolve around the need to always improve. I believe everything I do sculpturally is important to the development in my journey, and that through failure, I can learn how to succeed. My hope is to be a part of the industry for 20 to 30 years and eventually teach sculpture. My mentor Gabriel Vinas has helped me tremendously throughout my art journey, and I hope to carry on his passion for helping students by teaching the next generation of sculptors.

Gallery Setting
2022 
Stoneware, Earthenware, underglaze, glaze, spray paint, found objects, stabilized clay, live plants  
L. 21” x W. 23” x H 62.5” (measurements of the piece in the center)

(A detailed shot of the front left section of the gallery space. The piece in the middle, ‘Cat on Tree,’ is the largest, surrounded by an illustration on canvas, other sculptures, and plants in various display methods.)

My practice focuses on sustainability by using recycled clay and found objects. Some forms are amorphous, and others are multi-functional furniture pieces. I strive to promote closed-loop practices by exploring eco-contemporary interior design and installation. Common themes in my work are longevity, object permanence, strength vs. fragility, and testing the limitations of unconventional materials. The works selected represent the attainability of having a space furnished with ceramic sculptures created almost entirely out of discarded clay and glazes. I challenge myself to transform unappreciated and discarded items into aesthetic compositions. Using scrap clay, recycled canvases, beach seaweed, and live plants, I recreate domesticity and familiarity presented on pedestals.

Most of my recent works are large sculptures that command the viewer to interact physically. With the rise of overconsumption, I minimize my material use and create pieces that compete with the mass-produced, characterless, fast furniture in circulation. In my practice, furniture is not only practical; it is a way for me to reinforce the beauty and durability of everyday items. My goal when making functional pieces is to create beautiful sculptures you can also sit on, emphasizing the appreciation and consideration of space. When not creating massive, serviceable home fixtures, my installations comprise smaller components stacked onto one another to accumulate mass.

I received my BFA in Ceramics and a Biomedical Illustration Certification from California State University, Long Beach. I am a first-year Arizona State University graduate student pursuing an MFA with a ceramic focus. My short-term goal is to continue researching and testing materials I collect from the garbage and local junkyards. With access to the necessary tools, I can now repurpose items from construction waste sites, such as damaged toilets and used drywall. The most recent challenge is balancing my love for furniture-making and my curiosity to explore mediums. I plan to mesh my interests by layering glaze and decomposing organic matter in wall-hanging Petri dishes collecting the fusing materials. My long-term goal is to become a full-time art professor while expanding my practice by continuing to challenge conventional ceramic design concepts.

Kendall Traylor 
Chair Scene (Back Left),
2022  
Stoneware, glaze, underglaze, stabilized clay, found objects, live plant 
L. 16.5” x W. 12” x H. 52” (lamp on pedestal)
& L. 29” x W. 25” x H. 45” (chair on pedestal)

A small home scene of a ceramic chair and lamp, both shown on pedestals. A lampshade, pillow, and other objects are covered in stabilized clay to tie into the spot. A small Alocasia plant is placed on the floor as a compliment.

My practice focuses on sustainability by using recycled clay and found objects. Some forms are amorphous, and others are multi-functional furniture pieces. I strive to promote closed-loop practices by exploring eco-contemporary interior design and installation. Common themes in my work are longevity, object permanence, strength vs. fragility, and testing the limitations of unconventional materials. The works selected represent the attainability of having a space furnished with ceramic sculptures created almost entirely out of discarded clay and glazes. I challenge myself to transform unappreciated and discarded items into aesthetic compositions. Using scrap clay, recycled canvases, beach seaweed, and live plants, I recreate domesticity and familiarity presented on pedestals.

Most of my recent works are large sculptures that command the viewer to interact physically. With the rise of overconsumption, I minimize my material use and create pieces that compete with the mass-produced, characterless, fast furniture in circulation. In my practice, furniture is not only practical; it is a way for me to reinforce the beauty and durability of everyday items. My goal when making functional pieces is to create beautiful sculptures you can also sit on, emphasizing the appreciation and consideration of space. When not creating massive, serviceable home fixtures, my installations comprise smaller components stacked onto one another to accumulate mass.

I received my BFA in Ceramics and a Biomedical Illustration Certification from California State University, Long Beach. I am a first-year Arizona State University graduate student pursuing an MFA with a ceramic focus. My short-term goal is to continue researching and testing materials I collect from the garbage and local junkyards. With access to the necessary tools, I can now repurpose items from construction waste sites, such as damaged toilets and used drywall. The most recent challenge is balancing my love for furniture-making and my curiosity to explore mediums. I plan to mesh my interests by layering glaze and decomposing organic matter in wall-hanging Petri dishes collecting the fusing materials. My long-term goal is to become a full-time art professor while expanding my practice by continuing to challenge conventional ceramic design concepts.

 

Seaweed Burnout
2023 
Stoneware, sand, slip-dipped seaweed, unglazed 
L. 12″ x W. 12″ x H. 10“

Decorative bowl side view detail. Experimentation with organic fillers. Seaweed and slip burnout with beach sand wedged into recycled clay.

My practice focuses on sustainability by using recycled clay and found objects. Some forms are amorphous, and others are multi-functional furniture pieces. I strive to promote closed-loop practices by exploring eco-contemporary interior design and installation. Common themes in my work are longevity, object permanence, strength vs. fragility, and testing the limitations of unconventional materials. The works selected represent the attainability of having a space furnished with ceramic sculptures created almost entirely out of discarded clay and glazes. I challenge myself to transform unappreciated and discarded items into aesthetic compositions. Using scrap clay, recycled canvases, beach seaweed, and live plants, I recreate domesticity and familiarity presented on pedestals.

Most of my recent works are large sculptures that command the viewer to interact physically. With the rise of overconsumption, I minimize my material use and create pieces that compete with the mass-produced, characterless, fast furniture in circulation. In my practice, furniture is not only practical; it is a way for me to reinforce the beauty and durability of everyday items. My goal when making functional pieces is to create beautiful sculptures you can also sit on, emphasizing the appreciation and consideration of space. When not creating massive, serviceable home fixtures, my installations comprise smaller components stacked onto one another to accumulate mass.

I received my BFA in Ceramics and a Biomedical Illustration Certification from California State University, Long Beach. I am a first-year Arizona State University graduate student pursuing an MFA with a ceramic focus. My short-term goal is to continue researching and testing materials I collect from the garbage and local junkyards. With access to the necessary tools, I can now repurpose items from construction waste sites, such as damaged toilets and used drywall. The most recent challenge is balancing my love for furniture-making and my curiosity to explore mediums. I plan to mesh my interests by layering glaze and decomposing organic matter in wall-hanging Petri dishes collecting the fusing materials. My long-term goal is to become a full-time art professor while expanding my practice by continuing to challenge conventional ceramic design concepts.

 

Self Soothing (Reimagined Version),  
2023,  
Archival Inkjet Print,
24 x 36

My name is Rennan Kooistra and I am an undergraduate BFA student at Arizona State University. I am a fine art photography major and I create a myriad of work that explores themes of communication, psychology and dynamics that are at play in relationships.

I recently completed a body of work called A Self Reflection Through A World Crisis. The project was photographed between 2020 and 2022 with completion in 2023. Capturing the physical and emotional states of being that my peers and I experienced during a time of global crisis was the main theme for this project. The series highlights kinesic mechanisms that people use to cope with stress and anxiety. A bouncy leg while sitting along with literal interpretations of emotions like feeling trapped or suffocated in your environment are examples. Ultimately the series challenges the viewer to question and reflect upon their own experience after the crisis event ends. The three photographs attached are examples from this series.

A monochromatic aesthetic of the photographs was something I carefully considered while creating the project. I like the idea of a timeless look in these photographs so black and white large format film printed in silver gelatin was my go to choice for most images. Combining digital and analogue modalities was also something I utilized in the creation of the photographs. Some images use a digital camera to achieve certain effects within the analogue frame while others were created entirely with a digital camera to achieve a certain look. The project is designed to be psychological in its nature and creates a roadmap for what to expect during global troubling times. Through the project I was able to create unique and impactful work that has recently been awarded in a district Artist of Promise art competition along with an exhibition in Dallas, Texas.

            I am a goal oriented person and by achieving certain milestones I am confident to produce my work and grow my art practice. My goals for the coming year are to complete my BFA and enter grad school. In five years, I plan to finish an MFA in photography and start an MA in art history abroad. I enjoy learning new skills that may contribute to my artistic practice. By pursuing these educational milestones, I aim to establish a sustainable art practice where I can share my knowledge and passion for photography with the next generation and create work that is impactful. My long term goal is to become a professional artist and a college professor like many before me. I am inspired by the work and practice of successful artists like Gregory Crewdson, Stephen Marc, and Alex Webb. Mirroring their methods of practice and using it to create work that is unique and authentic to my own artistic style is my goal. I value authenticity in my work. I think it’s important for it to reflect who I am and allow me to express myself honestly and openly.

            Receiving this scholarship would mean that I am able to continue in my pursuit of these goals. I am nearing the achievement of my first goal of receiving my BFA and only have one year left in my BFA program. With this scholarship, I will continue to create work that’s impactful and share my knowledge with peers and others who are interested in the photographic arts. I stand at the precipice of my goals with my camera in hand and I am ready to soar. Thank you for your time and consideration.

Self Reflection
2022
Archival Silver Gelatin Print – Selenium Toned
16×20

My name is Rennan Kooistra and I am an undergraduate BFA student at Arizona State University. I am a fine art photography major and I create a myriad of work that explores themes of communication, psychology and dynamics that are at play in relationships.

I recently completed a body of work called A Self Reflection Through A World Crisis. The project was photographed between 2020 and 2022 with completion in 2023. Capturing the physical and emotional states of being that my peers and I experienced during a time of global crisis was the main theme for this project. The series highlights kinesic mechanisms that people use to cope with stress and anxiety. A bouncy leg while sitting along with literal interpretations of emotions like feeling trapped or suffocated in your environment are examples. Ultimately the series challenges the viewer to question and reflect upon their own experience after the crisis event ends. The three photographs attached are examples from this series.

A monochromatic aesthetic of the photographs was something I carefully considered while creating the project. I like the idea of a timeless look in these photographs so black and white large format film printed in silver gelatin was my go to choice for most images. Combining digital and analogue modalities was also something I utilized in the creation of the photographs. Some images use a digital camera to achieve certain effects within the analogue frame while others were created entirely with a digital camera to achieve a certain look. The project is designed to be psychological in its nature and creates a roadmap for what to expect during global troubling times. Through the project I was able to create unique and impactful work that has recently been awarded in a district Artist of Promise art competition along with an exhibition in Dallas, Texas.

            I am a goal oriented person and by achieving certain milestones I am confident to produce my work and grow my art practice. My goals for the coming year are to complete my BFA and enter grad school. In five years, I plan to finish an MFA in photography and start an MA in art history abroad. I enjoy learning new skills that may contribute to my artistic practice. By pursuing these educational milestones, I aim to establish a sustainable art practice where I can share my knowledge and passion for photography with the next generation and create work that is impactful. My long term goal is to become a professional artist and a college professor like many before me. I am inspired by the work and practice of successful artists like Gregory Crewdson, Stephen Marc, and Alex Webb. Mirroring their methods of practice and using it to create work that is unique and authentic to my own artistic style is my goal. I value authenticity in my work. I think it’s important for it to reflect who I am and allow me to express myself honestly and openly.

            Receiving this scholarship would mean that I am able to continue in my pursuit of these goals. I am nearing the achievement of my first goal of receiving my BFA and only have one year left in my BFA program. With this scholarship, I will continue to create work that’s impactful and share my knowledge with peers and others who are interested in the photographic arts. I stand at the precipice of my goals with my camera in hand and I am ready to soar. Thank you for your time and consideration.

An Anxious Mind
2022
Archival Silver Gelatin Print – Selenium Toned
16×20

My name is Rennan Kooistra and I am an undergraduate BFA student at Arizona State University. I am a fine art photography major and I create a myriad of work that explores themes of communication, psychology and dynamics that are at play in relationships.

I recently completed a body of work called A Self Reflection Through A World Crisis. The project was photographed between 2020 and 2022 with completion in 2023. Capturing the physical and emotional states of being that my peers and I experienced during a time of global crisis was the main theme for this project. The series highlights kinesic mechanisms that people use to cope with stress and anxiety. A bouncy leg while sitting along with literal interpretations of emotions like feeling trapped or suffocated in your environment are examples. Ultimately the series challenges the viewer to question and reflect upon their own experience after the crisis event ends. The three photographs attached are examples from this series.

A monochromatic aesthetic of the photographs was something I carefully considered while creating the project. I like the idea of a timeless look in these photographs so black and white large format film printed in silver gelatin was my go to choice for most images. Combining digital and analogue modalities was also something I utilized in the creation of the photographs. Some images use a digital camera to achieve certain effects within the analogue frame while others were created entirely with a digital camera to achieve a certain look. The project is designed to be psychological in its nature and creates a roadmap for what to expect during global troubling times. Through the project I was able to create unique and impactful work that has recently been awarded in a district Artist of Promise art competition along with an exhibition in Dallas, Texas.

            I am a goal oriented person and by achieving certain milestones I am confident to produce my work and grow my art practice. My goals for the coming year are to complete my BFA and enter grad school. In five years, I plan to finish an MFA in photography and start an MA in art history abroad. I enjoy learning new skills that may contribute to my artistic practice. By pursuing these educational milestones, I aim to establish a sustainable art practice where I can share my knowledge and passion for photography with the next generation and create work that is impactful. My long term goal is to become a professional artist and a college professor like many before me. I am inspired by the work and practice of successful artists like Gregory Crewdson, Stephen Marc, and Alex Webb. Mirroring their methods of practice and using it to create work that is unique and authentic to my own artistic style is my goal. I value authenticity in my work. I think it’s important for it to reflect who I am and allow me to express myself honestly and openly.

            Receiving this scholarship would mean that I am able to continue in my pursuit of these goals. I am nearing the achievement of my first goal of receiving my BFA and only have one year left in my BFA program. With this scholarship, I will continue to create work that’s impactful and share my knowledge with peers and others who are interested in the photographic arts. I stand at the precipice of my goals with my camera in hand and I am ready to soar. Thank you for your time and consideration.

From the Rereading Series
2024
Transfer Image on Wooden Board

As a Master of Fine Arts student at Arizona State University, I am deeply engaged in expanding my artistic practice and exploring the intersection of historical imagery and contemporary issues. Currently, I am immersed in the culmination of my studies through my thesis project, which promises to be a significant endeavor aimed at addressing pressing socio-political concerns.

At the heart of my thesis lies a profound to utilizing art as a means of preserving and conveying history, particularly narratives that have been marginalized or forgotten. My project focuses on compiling an archive that sheds light on individuals who have disappeared or been victims of violence due to complex socio-political circumstances in my home country, Iran. These images serve as both documentation and testimony, bearing witness to the human experiences often overshadowed by dominant historical narratives.

Informed by my studies and guided by a dedication to challenging conventional interpretations of the past, my practice revolves around the concept of historical imaginary—the interplay between tangible historical events and the subjective perceptions and interpretations that shape our understanding of them. Through meticulous curation and reinterpretation, I aim to reevaluate and reconstruct our collective memory, inviting viewers to engage critically with the complexities of history and its enduring impact on contemporary society.

As I navigate the intricate layers of my thesis project, I am driven by a desire to prompt reflection, provoke dialogue, and inspire meaningful change. By weaving together diverse narratives and perspectives, I strive to foster a deeper understanding of the world we inhabit and the multifaceted forces that shape it.

 

Woman Revolution
2022
Photo Installation, Paper, Inkjet Print
40″ x 60“

As a Master of Fine Arts student at Arizona State University, I am deeply engaged in expanding my artistic practice and exploring the intersection of historical imagery and contemporary issues. Currently, I am immersed in the culmination of my studies through my thesis project, which promises to be a significant endeavor aimed at addressing pressing socio-political concerns.

At the heart of my thesis lies a profound to utilizing art as a means of preserving and conveying history, particularly narratives that have been marginalized or forgotten. My project focuses on compiling an archive that sheds light on individuals who have disappeared or been victims of violence due to complex socio-political circumstances in my home country, Iran. These images serve as both documentation and testimony, bearing witness to the human experiences often overshadowed by dominant historical narratives.

Informed by my studies and guided by a dedication to challenging conventional interpretations of the past, my practice revolves around the concept of historical imaginary—the interplay between tangible historical events and the subjective perceptions and interpretations that shape our understanding of them. Through meticulous curation and reinterpretation, I aim to reevaluate and reconstruct our collective memory, inviting viewers to engage critically with the complexities of history and its enduring impact on contemporary society.

As I navigate the intricate layers of my thesis project, I am driven by a desire to prompt reflection, provoke dialogue, and inspire meaningful change. By weaving together diverse narratives and perspectives, I strive to foster a deeper understanding of the world we inhabit and the multifaceted forces that shape it.

 

The Last Moment from the “Rereading” series
2022
Photo Installation
Paper, Inkjet Print
40″ x 60″

As a Master of Fine Arts student at Arizona State University, I am deeply engaged in expanding my artistic practice and exploring the intersection of historical imagery and contemporary issues. Currently, I am immersed in the culmination of my studies through my thesis project, which promises to be a significant endeavor aimed at addressing pressing socio-political concerns.

At the heart of my thesis lies a profound to utilizing art as a means of preserving and conveying history, particularly narratives that have been marginalized or forgotten. My project focuses on compiling an archive that sheds light on individuals who have disappeared or been victims of violence due to complex socio-political circumstances in my home country, Iran. These images serve as both documentation and testimony, bearing witness to the human experiences often overshadowed by dominant historical narratives.

Informed by my studies and guided by a dedication to challenging conventional interpretations of the past, my practice revolves around the concept of historical imaginary—the interplay between tangible historical events and the subjective perceptions and interpretations that shape our understanding of them. Through meticulous curation and reinterpretation, I aim to reevaluate and reconstruct our collective memory, inviting viewers to engage critically with the complexities of history and its enduring impact on contemporary society.

As I navigate the intricate layers of my thesis project, I am driven by a desire to prompt reflection, provoke dialogue, and inspire meaningful change. By weaving together diverse narratives and perspectives, I strive to foster a deeper understanding of the world we inhabit and the multifaceted forces that shape it.

 

A Heart and Wild Tongue  
2023 
Video Installation 
36”x6”x48”

Raised in a religious Mexican household where I did not identify with my parent’s religion and where grappled with assimilation, my identities have been my artistic source of inspiration. Through conversations as a child, I was aware that my inner circle of friends shared similar experiences of denouncing religion for the guilt and toxicity that it excused. Likewise, I became aware that wanting to “fit in” with American culture was a struggle of always attempting, but never fully realizing what we wanted to accomplish. Through these three works and in my practice, I investigate my ethnic and spiritual identities with a more critical and researched understanding of assimilation, representation of identities, experiences, and the histories or stories of these identities. Frequently using organic materials or organic settings, I redefine my relationship with christian religion with that of Pantheism: a belief in the universe. A world view that allows me to embrace my ethnic identity of being Mexican as I utilize performance and spoken word to dance, or relate to the desert of Arizona, which used to belong to Mexico.

The pursuit of truth, education, and the cultivation of empathy are important values that have guided me through my development as an artist. These three values hold my purpose and motivation for making art. My practice comes from a place of researching Mexican and Mexican-American history that is not traditionally taught in American education as well as my own experiences with religion. From the knowledge I acquire, I feel urged to share my knowledge poetically through art. I believe that art and creativity are the most incredible and irreplaceable gifts of mankind. Through art, I believe the viewer is presented with an object, not demanding to be questioned, but inviting to be questioned and accepting of whatever conclusions the viewer comes to. Within this practice of opening the viewer up to a new experience is where I believe people are moved to empathize, learn, and accept others.
Upon graduation, I intend to earn a masters degree in interdisciplinary arts where I would like to continue my education and study in identities. I would continue to focus on my ethnic identity, though I would also investigate how identities are not isolated. After my masters, I would like to go on to teaching writing and presentation skills for students. This is an area that students struggle with and I would like to mend the gap to create better prepared artists.

Divine Timing  
2023  
Video 
36”x4”x48”

Raised in a religious Mexican household where I did not identify with my parent’s religion and where grappled with assimilation, my identities have been my artistic source of inspiration. Through conversations as a child, I was aware that my inner circle of friends shared similar experiences of denouncing religion for the guilt and toxicity that it excused. Likewise, I became aware that wanting to “fit in” with American culture was a struggle of always attempting, but never fully realizing what we wanted to accomplish. Through these three works and in my practice, I investigate my ethnic and spiritual identities with a more critical and researched understanding of assimilation, representation of identities, experiences, and the histories or stories of these identities. Frequently using organic materials or organic settings, I redefine my relationship with christian religion with that of Pantheism: a belief in the universe. A world view that allows me to embrace my ethnic identity of being Mexican as I utilize performance and spoken word to dance, or relate to the desert of Arizona, which used to belong to Mexico.

The pursuit of truth, education, and the cultivation of empathy are important values that have guided me through my development as an artist. These three values hold my purpose and motivation for making art. My practice comes from a place of researching Mexican and Mexican-American history that is not traditionally taught in American education as well as my own experiences with religion. From the knowledge I acquire, I feel urged to share my knowledge poetically through art. I believe that art and creativity are the most incredible and irreplaceable gifts of mankind. Through art, I believe the viewer is presented with an object, not demanding to be questioned, but inviting to be questioned and accepting of whatever conclusions the viewer comes to. Within this practice of opening the viewer up to a new experience is where I believe people are moved to empathize, learn, and accept others.
Upon graduation, I intend to earn a masters degree in interdisciplinary arts where I would like to continue my education and study in identities. I would continue to focus on my ethnic identity, though I would also investigate how identities are not isolated. After my masters, I would like to go on to teaching writing and presentation skills for students. This is an area that students struggle with and I would like to mend the gap to create better prepared artists.

Descubriendo Mis Raíces 
2023 
Resin, cacti, oranges, grapes, palo verde 
63”x48”x65”

Raised in a religious Mexican household where I did not identify with my parent’s religion and where grappled with assimilation, my identities have been my artistic source of inspiration. Through conversations as a child, I was aware that my inner circle of friends shared similar experiences of denouncing religion for the guilt and toxicity that it excused. Likewise, I became aware that wanting to “fit in” with American culture was a struggle of always attempting, but never fully realizing what we wanted to accomplish. Through these three works and in my practice, I investigate my ethnic and spiritual identities with a more critical and researched understanding of assimilation, representation of identities, experiences, and the histories or stories of these identities. Frequently using organic materials or organic settings, I redefine my relationship with christian religion with that of Pantheism: a belief in the universe. A world view that allows me to embrace my ethnic identity of being Mexican as I utilize performance and spoken word to dance, or relate to the desert of Arizona, which used to belong to Mexico.

The pursuit of truth, education, and the cultivation of empathy are important values that have guided me through my development as an artist. These three values hold my purpose and motivation for making art. My practice comes from a place of researching Mexican and Mexican-American history that is not traditionally taught in American education as well as my own experiences with religion. From the knowledge I acquire, I feel urged to share my knowledge poetically through art. I believe that art and creativity are the most incredible and irreplaceable gifts of mankind. Through art, I believe the viewer is presented with an object, not demanding to be questioned, but inviting to be questioned and accepting of whatever conclusions the viewer comes to. Within this practice of opening the viewer up to a new experience is where I believe people are moved to empathize, learn, and accept others.
Upon graduation, I intend to earn a masters degree in interdisciplinary arts where I would like to continue my education and study in identities. I would continue to focus on my ethnic identity, though I would also investigate how identities are not isolated. After my masters, I would like to go on to teaching writing and presentation skills for students. This is an area that students struggle with and I would like to mend the gap to create better prepared artists.

Divine Timing
https://youtu.be/cuQ90pJR8Mk?si=tE5GbGpl11YqChQW

A Heart and Wild Tongue
https://youtu.be/y9N10mFxPTM?si=a9jV1tI73pU2YaAI

 

Raised in a religious Mexican household where I did not identify with my parent’s religion and where grappled with assimilation, my identities have been my artistic source of inspiration. Through conversations as a child, I was aware that my inner circle of friends shared similar experiences of denouncing religion for the guilt and toxicity that it excused. Likewise, I became aware that wanting to “fit in” with American culture was a struggle of always attempting, but never fully realizing what we wanted to accomplish. Through these three works and in my practice, I investigate my ethnic and spiritual identities with a more critical and researched understanding of assimilation, representation of identities, experiences, and the histories or stories of these identities. Frequently using organic materials or organic settings, I redefine my relationship with christian religion with that of Pantheism: a belief in the universe. A world view that allows me to embrace my ethnic identity of being Mexican as I utilize performance and spoken word to dance, or relate to the desert of Arizona, which used to belong to Mexico.

The pursuit of truth, education, and the cultivation of empathy are important values that have guided me through my development as an artist. These three values hold my purpose and motivation for making art. My practice comes from a place of researching Mexican and Mexican-American history that is not traditionally taught in American education as well as my own experiences with religion. From the knowledge I acquire, I feel urged to share my knowledge poetically through art. I believe that art and creativity are the most incredible and irreplaceable gifts of mankind. Through art, I believe the viewer is presented with an object, not demanding to be questioned, but inviting to be questioned and accepting of whatever conclusions the viewer comes to. Within this practice of opening the viewer up to a new experience is where I believe people are moved to empathize, learn, and accept others.
Upon graduation, I intend to earn a masters degree in interdisciplinary arts where I would like to continue my education and study in identities. I would continue to focus on my ethnic identity, though I would also investigate how identities are not isolated. After my masters, I would like to go on to teaching writing and presentation skills for students. This is an area that students struggle with and I would like to mend the gap to create better prepared artists.

Prickly-pear Cactus Blooming Rhythm
2022   
watercolor and graphite
15 x 22 in

Drawing from the vibrant landscapes of Vietnam, I embarked on a journey of artistic discovery that took me to the American Southwest. Over the past three years, I have immersed myself in studying illustration at MCC, honing my skills and delving into the world of visual storytelling. Along the way, I had the privilege of residing in Northern Arizona, where the expanse of nature left an indelible mark on my creative spirit. A place where I enjoy majestic mountains, vast pine forests, interesting historical sites, and free wild animals that want to come close and talk to me.

Inspired by the rich tapestry of culture around me, including the traditions of Native American and Hispanic communities, I have found solace and inspiration in the beauty of the desert landscape. The majestic saguaro and resilient cactus became my muses, instilling me a sense of resilience and determination. This deep connection with nature led me to choose watercolor as my primary medium, allowing me to capture the essence of architectural beauty and natural wonder in my illustrations and designs. After many years of using different materials, I still believe in and feel comfortable painting with watercolor because it gives me an indescribable feeling of peace and quiet, highly meditative, and people who view my paintings feel like they are being healed.

In my artistic journey, I draw inspiration from the flora and fauna that inhabit our planet, considering them the most beautiful models. My first painting, “Prickly-Pear Cactus”, demonstrates the dynamic and expressive style that defines my watercolor technique, capturing the vibrancy and energy of desert life. In “Spring Smile,” I transport viewers to a world of innocence and joy, depicting a little Mexican girl amid the splendor of a blooming dahlia flower. As far as I know, the dahlia was declared the national flower of Mexico in 1963. This information and flower are interesting details in the painting and enrich the cultural value of the character. Colorful costumes and facial expressions reflect the beauty of the surroundings.

With “Rustling and Whispering,” I invite audiences to join me in a moment of tranquility and reflection as a calico cat basks in the summer sun’s warmth amidst a camellias garden. Through this piece, I seek to convey the gentle dialogue between flora and fauna, reminding us of the profound interconnectedness of all living beings. In every brushstroke, I strive to capture the fleeting beauty of life’s simple moments, inviting viewers to appreciate the miracles surrounding us when we observe wholeheartedly.

 

The Spring Smile
2024
watercolor and graphite
15 x 20 in.

Drawing from the vibrant landscapes of Vietnam, I embarked on a journey of artistic discovery that took me to the American Southwest. Over the past three years, I have immersed myself in studying illustration at MCC, honing my skills and delving into the world of visual storytelling. Along the way, I had the privilege of residing in Northern Arizona, where the expanse of nature left an indelible mark on my creative spirit. A place where I enjoy majestic mountains, vast pine forests, interesting historical sites, and free wild animals that want to come close and talk to me.

Inspired by the rich tapestry of culture around me, including the traditions of Native American and Hispanic communities, I have found solace and inspiration in the beauty of the desert landscape. The majestic saguaro and resilient cactus became my muses, instilling me a sense of resilience and determination. This deep connection with nature led me to choose watercolor as my primary medium, allowing me to capture the essence of architectural beauty and natural wonder in my illustrations and designs. After many years of using different materials, I still believe in and feel comfortable painting with watercolor because it gives me an indescribable feeling of peace and quiet, highly meditative, and people who view my paintings feel like they are being healed.

In my artistic journey, I draw inspiration from the flora and fauna that inhabit our planet, considering them the most beautiful models. My first painting, “Prickly-Pear Cactus”, demonstrates the dynamic and expressive style that defines my watercolor technique, capturing the vibrancy and energy of desert life. In “Spring Smile,” I transport viewers to a world of innocence and joy, depicting a little Mexican girl amid the splendor of a blooming dahlia flower. As far as I know, the dahlia was declared the national flower of Mexico in 1963. This information and flower are interesting details in the painting and enrich the cultural value of the character. Colorful costumes and facial expressions reflect the beauty of the surroundings.

With “Rustling and Whispering,” I invite audiences to join me in a moment of tranquility and reflection as a calico cat basks in the summer sun’s warmth amidst a camellias garden. Through this piece, I seek to convey the gentle dialogue between flora and fauna, reminding us of the profound interconnectedness of all living beings. In every brushstroke, I strive to capture the fleeting beauty of life’s simple moments, inviting viewers to appreciate the miracles surrounding us when we observe wholeheartedly.

 

Rustling and Whispering
2023
watercolor and graphite
30 x 22 in.

Drawing from the vibrant landscapes of Vietnam, I embarked on a journey of artistic discovery that took me to the American Southwest. Over the past three years, I have immersed myself in studying illustration at MCC, honing my skills and delving into the world of visual storytelling. Along the way, I had the privilege of residing in Northern Arizona, where the expanse of nature left an indelible mark on my creative spirit. A place where I enjoy majestic mountains, vast pine forests, interesting historical sites, and free wild animals that want to come close and talk to me.

Inspired by the rich tapestry of culture around me, including the traditions of Native American and Hispanic communities, I have found solace and inspiration in the beauty of the desert landscape. The majestic saguaro and resilient cactus became my muses, instilling me a sense of resilience and determination. This deep connection with nature led me to choose watercolor as my primary medium, allowing me to capture the essence of architectural beauty and natural wonder in my illustrations and designs. After many years of using different materials, I still believe in and feel comfortable painting with watercolor because it gives me an indescribable feeling of peace and quiet, highly meditative, and people who view my paintings feel like they are being healed.

In my artistic journey, I draw inspiration from the flora and fauna that inhabit our planet, considering them the most beautiful models. My first painting, “Prickly-Pear Cactus”, demonstrates the dynamic and expressive style that defines my watercolor technique, capturing the vibrancy and energy of desert life. In “Spring Smile,” I transport viewers to a world of innocence and joy, depicting a little Mexican girl amid the splendor of a blooming dahlia flower. As far as I know, the dahlia was declared the national flower of Mexico in 1963. This information and flower are interesting details in the painting and enrich the cultural value of the character. Colorful costumes and facial expressions reflect the beauty of the surroundings.

With “Rustling and Whispering,” I invite audiences to join me in a moment of tranquility and reflection as a calico cat basks in the summer sun’s warmth amidst a camellias garden. Through this piece, I seek to convey the gentle dialogue between flora and fauna, reminding us of the profound interconnectedness of all living beings. In every brushstroke, I strive to capture the fleeting beauty of life’s simple moments, inviting viewers to appreciate the miracles surrounding us when we observe wholeheartedly.

 

Home
2022
Acrylic on Canvas
16”x20”

“Home” is a painting of a photograph of my mother and me when I was one month old. I am wrapped in my mother’s arms as we lay on my grandparent’s couch. My mother had just moved from California to Arizona to escape her abusive marriage. We would then live in my grandparent’s house for twenty-two years. This piece is about safe havens, relief, looming violence, and the essential need for physical and environmental safety.

            I am pursuing a Bachelor’s in Painting and Drawing at Arizona State University. I hope to pursue a Master’s in Fine Art in 2025, but I am open to change and opportunities. It is my career goal to be a full-time visual artist. My goal as an artist is for people to embrace more beauty in their lives. I also wish to become an involved figure in the art world that expands beyond making and selling art. I want my pieces to inspire people, but I want to give back to the community. It is a dream one day to participate in philanthropic work, like funding scholarships for other low-income Latin women in the arts, as well as community outreach and funding for low-income families and their needs, such as housing, food, employment, and daycare. There is no success without helping the people around you.

End of Then, Beginning of Now
2022
Acrylic on Canvas
20”x16”

“End of Then, Beginning of Now” is a painting of my grandmother photographed with her sister and mother. My grandparents had both traveled from different parts of Mexico to attend school in Stockton, California. They met and married shortly afterward. This image shows a moment of innocence of what is to come. My grandfather takes a photo of the three women while they shyly position themselves, gossiping and making fun. This lost moment will not happen again; my grandparents will not live the lives they had in Mexico; they will raise children through poverty and racism. This piece is a visual marker of one story ending and the beginning of another.

            I am pursuing a Bachelor’s in Painting and Drawing at Arizona State University. I hope to pursue a Master’s in Fine Art in 2025, but I am open to change and opportunities. It is my career goal to be a full-time visual artist. My goal as an artist is for people to embrace more beauty in their lives. I also wish to become an involved figure in the art world that expands beyond making and selling art. I want my pieces to inspire people, but I want to give back to the community. It is a dream one day to participate in philanthropic work, like funding scholarships for other low-income Latin women in the arts, as well as community outreach and funding for low-income families and their needs, such as housing, food, employment, and daycare. There is no success without helping the people around you.

First Born  
2022
 Acrylic on Canvas  
20”x16”

            “First Born” is a painting of a photograph of my grandmother with my aunt. My aunt was born after my grandparents were married and settled in the U.S.A. She is the firstborn of the family. This painting is about reflecting on our origins and trying to find ways and gaps that we might’ve taken to change our lives in the past. My grandmother looks at the baby with love and tenderness, but the baby looks at the viewer, a conversation between past and present.

            I am pursuing a Bachelor’s in Painting and Drawing at Arizona State University. I hope to pursue a Master’s in Fine Art in 2025, but I am open to change and opportunities. It is my career goal to be a full-time visual artist. My goal as an artist is for people to embrace more beauty in their lives. I also wish to become an involved figure in the art world that expands beyond making and selling art. I want my pieces to inspire people, but I want to give back to the community. It is a dream one day to participate in philanthropic work, like funding scholarships for other low-income Latin women in the arts, as well as community outreach and funding for low-income families and their needs, such as housing, food, employment, and daycare. There is no success without helping the people around you.

Divine Life
graphite pencils
18 x 24 in

Womanhood and the feminine Identity are the depiction of the body of work I created. Divine feminine is the representation of the feminine figures who have shaped me in my life. The Greek Goddess Artemis is depicted in this drawing, Artemis was the goddess of the moon, nature and wilderness as well as of childbirth and chastity, she was a hero to many which is why this represents the women in my life who were heroes to me as well as represent womanhood and show women as the divine and powerful beings that they are. Divine freedom is the personification of the struggles of womanhood and the challenges that we have faced for many centuries. Divine life is meant to showcase two aspects of womanhood of the past, present and future.

 Throughout my artistic journey I have been blessed with the opportunities to work with amazing organizations that promote authenticity and highlight the beauty of our communities. I am constantly using my drawings and paintings to raise awareness on existing issues and advocate for them through artwork, which is why supporting and connecting with these smaller local organizations is important to me. I want to continue using my art as a bridge to connect people and my community. I believe a painting can speak a thousand words, a piece of art can transcend language barriers and borders across the world, and my goal is to keep pushing this bridge that my art has created to keep connecting.

As my walk across this bridge has only begun, I am excited to develop my art work even further as I transfer to Arizona state university and continue this journey for a bachelors in arts. My journey has only just started and I am excited to keep extending this bridge further.

 

 

Divine Feminine
graphite pencils
18 x 24 in

Womanhood and the feminine Identity are the depiction of the body of work I created. Divine feminine is the representation of the feminine figures who have shaped me in my life. The Greek Goddess Artemis is depicted in this drawing, Artemis was the goddess of the moon, nature and wilderness as well as of childbirth and chastity, she was a hero to many which is why this represents the women in my life who were heroes to me as well as represent womanhood and show women as the divine and powerful beings that they are. Divine freedom is the personification of the struggles of womanhood and the challenges that we have faced for many centuries. Divine life is meant to showcase two aspects of womanhood of the past, present and future.

 Throughout my artistic journey I have been blessed with the opportunities to work with amazing organizations that promote authenticity and highlight the beauty of our communities. I am constantly using my drawings and paintings to raise awareness on existing issues and advocate for them through artwork, which is why supporting and connecting with these smaller local organizations is important to me. I want to continue using my art as a bridge to connect people and my community. I believe a painting can speak a thousand words, a piece of art can transcend language barriers and borders across the world, and my goal is to keep pushing this bridge that my art has created to keep connecting.

As my walk across this bridge has only begun, I am excited to develop my art work even further as I transfer to Arizona state university and continue this journey for a bachelors in arts. My journey has only just started and I am excited to keep extending this bridge further.

 

 

Divine Libery
graphite pencils
18 x 24 in

Womanhood and the feminine Identity are the depiction of the body of work I created. Divine feminine is the representation of the feminine figures who have shaped me in my life. The Greek Goddess Artemis is depicted in this drawing, Artemis was the goddess of the moon, nature and wilderness as well as of childbirth and chastity, she was a hero to many which is why this represents the women in my life who were heroes to me as well as represent womanhood and show women as the divine and powerful beings that they are. Divine freedom is the personification of the struggles of womanhood and the challenges that we have faced for many centuries. Divine life is meant to showcase two aspects of womanhood of the past, present and future.

 Throughout my artistic journey I have been blessed with the opportunities to work with amazing organizations that promote authenticity and highlight the beauty of our communities. I am constantly using my drawings and paintings to raise awareness on existing issues and advocate for them through artwork, which is why supporting and connecting with these smaller local organizations is important to me. I want to continue using my art as a bridge to connect people and my community. I believe a painting can speak a thousand words, a piece of art can transcend language barriers and borders across the world, and my goal is to keep pushing this bridge that my art has created to keep connecting.

As my walk across this bridge has only begun, I am excited to develop my art work even further as I transfer to Arizona state university and continue this journey for a bachelors in arts. My journey has only just started and I am excited to keep extending this bridge further.